Atkinson National Trauma The University of Sydney Meera Atkinson Australia is a crime scene: Natalie Harkin’s intervention on national numbness and the national ideal Abstract: Sara Ahmed analyses the construction of the national ideal, conceiving of nationhood as a formation dependent on the stickiness of an ideal-image informed by complex individual and collective physic processes. In this article, I focus on the Narungga poet, artist, and scholar Natalie Harkin’s debut collection of poems, Dirty Words, through the lens of Ahmed’s work on the socialisation of affect to argue that Harkin’s poetics stage an intervention on national numbness (a consequence, in part, of Australia’s traumatic establishment as a penal colony) and Australia’s Anglo-centric national ideal. I examine Harkin’s challenge to those who continue to fly the traumatising, colonising flag and her witnessing to transgenerational trauma in the post-invasion context, showing how her testimony confronts the denial and division entrenched in the national ideal, past and present. Harkin’s mediation contributes to a burgeoning First Nations poetics in Australia that demands recognition of Aboriginal and Torres Strait Islander peoples’ experience and knowledge, and calls for justice, accountability, reflection, and response from non-Indigenous Australians. Biographical note: Meera Atkinson is a Sydney-based scholar, literary writer, and poet. She is the author of The Poetics of Transgenerational Trauma (Bloomsbury 2017), and co-edited Traumatic Affect (2013), an international volume of academic essays exploring the nexus of trauma and affect. Traumata, a literary title about the traumatising nature of patriarchy, is forthcoming on Queensland of University Press (UQP) in 2018. Meera is a sessional teacher in creative writing at The University of Sydney. Keywords: Creative Writing – Trauma – Nation – Transgenerational trauma – Affect – Poetic intervention TEXT Special Issue 42: Writing and Trauma 1 eds Bridget Haylock & Suzanne Hermanoczki, October 2017 Atkinson National Trauma Introduction Natalie Harkin is a Narungga woman from South Australia who produces academic and literary writing that reveals the national trauma at the heart of colonialism while critiquing the imagined ideal of the Australian nation-state. This article gives focus to Harkin’s first book publication, Dirty Words (2015a), which she describes in the Preface as an ‘A to Z index of poetry’ and a ‘contemplation of nation and history’ (ix). Harkin’s poetic-affective experiment sets its sights on the colonised national ideal, depicting the contemporary post-traumatic state resulting from a nationhood established by blood. This experimental poetics witnesses to profoundly traumatic events, events that leave as their trace impossibility. Cathy Caruth, following Dori Laub, conceives of this traumatic impossibility, this lack of psychic registration and processing, as the ‘gap that carries the force of the [traumatic] event and does so precisely at the expense of simple knowledge and memory’ (1996: 7). The remarkable feat of Dirty Words (2015a) is that it witnesses to not one trauma, nor even to the cumulative traumata of an individual, but to incalculable traumas inflicted on Aboriginal and Torres Strait Islander peoples since 1770. As such, it stands as a transgenerational trauma testimony of historical and political import. Shoshana Felman (1995) defines trauma testimony as pieces of memory overwhelmed by occurrences that have not settled into understanding or remembrance, acts that cannot be construed as knowledge nor assimilated into full cognition, events in excess of our frames of reference. (16) Testimony is, according to Felman, ‘language in process’ that does not ‘possess itself as a conclusion’, and a ‘discursive practice’ [italics in original] (16). This aptly describes Harkin’s dismantling of the modern mythology of Australia’s imagined ‘fair go’ and the way her poems confront the dissonance of claims to an equitable society, serving as a reality check to ethically comatose non-Indigenous Australians. Recent estimates suggest Aboriginal Australians are likely to die on average 9.5 years sooner than non-Indigenous Australians (HealthInfoNet 2016). Suicide—a rare occurrence pre-invasion—is now 2.6 times the rate of non-Indigenous Australians (Australian Government Department of Health 2013), and Aboriginal and Torres Strait Islander peoples’ youth suicide accounted for 80% of Australian suicides in 2010 compared with only 10% in 1991. Incarceration is 13 times that of non- Indigenous citizens. Juvenile detention rates in torturous facilities are 24 times greater. The infant mortality rate is almost double for Aboriginal and Torres Strait Islander parents. Unemployment is 5 times higher than for other Australians. It is estimated that Aboriginal and Torres Strait Islander peoples’ children are 8 times more likely to suffer sustained child abuse or neglect (though it needs to be taken into account that these families are also monitored more heavily and frequently than non- Indigenous families) (Australians Together 2016). The crisis may be obvious, but it is far from a priority for most non-Indigenous Australians. Clearly, there is an urgent need for disruption of this strategic and harmful collective numbness, which, I will argue, operates as a dissociative physic and emotional dulling and absence of discernment intimately bound to a persistent colonialist national ideal. In The Cultural Politics of Emotion (2004), Sara Ahmed conceptualises an affectivity of the national ideal by way of Sigmund Freud’s thinking on love and the formation of group identities. Focusing on Freud’s assertion that groups are formed through a TEXT Special Issue 42: Writing and Trauma 2 eds Bridget Haylock & Suzanne Hermanoczki, October 2017 Atkinson National Trauma process in which individuals collectively substitute a shared object for an ego ideal, Ahmed demonstrates the means by which a group ‘sticks’ together (Ahmed 2004: 130). This process determines which lives are grievable, in Judith Butler’s parlance (2009), e.g. loveable, part of the group, valued, and which are not. Ahmed describes the nation as love object as ‘a concrete effect of how some bodies have moved towards and away from other bodies, a movement that works to create boundaries and borders’ (2004: 133). The national ideal is an effect of this tribal idealisation, which elevates some subjects over others, producing a ‘“national character” (what the nation is like)’ (Ahmed 2004: 133). The national ideal of ‘Australia’ has long elevated its Anglo settlers and their descendants over First Nations peoples and other ‘others’ via social and institutional structuring and circulations of attitudes, affects, and discourses that promote Australia’s national identity as a white Western nation, despite the fact that Aboriginal and Torres Strait Islander peoples inhabited the land for many millennia before the arrival of the First Fleet and that Australia now presents as multicultural. As emerging poet, artist and scholar Natalie Harkin shows, this ideal is far from passive—a great deal of multi-modal labour goes into its maintenance. Policies enacted by parliaments marked by a serious underrepresentation of Aboriginal and Torres Strait Islander peoples, flag waving Reclaim Australia marches, racist cartoons in the national broadsheet, millions of Australians tuning in daily to the bigoted ravings of AM ‘Shock Jocks’—multi-modal collective labour toils to perpetually reinforce and re-inscribe a racist, Euro-centric national ideal. Harkin is part of the Unbound collective, a group of women experimental writers and artists creatively interrogating the state’s archives and colonial history, and the ‘archival poetics’—research associated with her PhD (2014, 2015b)—responds to her family’s official records. This appears to have laid the foundation for what Harkin achieves in Dirty Words. In her Flinders University biography, Harkin describes her project as weaving ‘a love of storytelling, activism and resistance-poetics through art and literature’ (2017). In an article on this research titled, ‘The Poetics of (Re)Mapping Archives: Memory in the Blood’ (2014), Harkin declares her intention to work at the intersection of trauma and affect, witnessing and testimony, scholarly research and creative/literary process. Her view of bodily sensation is central to her witnessing to transgenerational trauma: ‘These records are our memories and lives; material, visceral, flesh and blood. The State wounds and our records bleed’ (4). Harkin’s inhabiting of this material in a bodily way in turn generates her writing: I sit between almost 200 pages file-note archives a portion of Nanna’s life under State control with tight throat my heart pumps memory-in-the- blood I catch my breath—sharp and hold it (2014: 1). The concept of ‘blood memory’ is vital to Harkin’s thinking and writing. Its origins lie in American Indian literature and it refers to the call for colonised peoples to go back to heritage, to the memory of ancestry, to engage in the act of ‘reclaiming and reimagining histories through narrative memory’ (6). Harkin writes: Here, the body (blood) serves as a metaphor for the intergenerational transmission of cultural knowledge and heritage, through individual and collective memory, particularly in the face of enormous loss. (2014: 7) TEXT Special Issue 42: Writing and Trauma 3 eds Bridget Haylock & Suzanne Hermanoczki, October 2017 Atkinson National Trauma This ‘enormous